AROUND TOWN/MUSIC: “Billy Budd,” L.A. Chamber Orchestra, L.A. Phil headline busy fornight + upcoming schedues

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this article was first published today in the above papers.

Several significant events will take place during the next fortnight, headed by Los Angeles Opera’s revival of its production of Benjamin Britten’s Billy Budd, which opens next Saturday at 7:30 p.m. in the first of six performances running through March 16 at the Dorothy Chandler Pavilion. Four performances are in the evening while two are in the afternoon.

LAO Music Director James Conlon will conduct this production and will offer one of his typically erudite lectures an hour before each performance. Billy Budd concludes the company’s celebration of the centennial of Britten’s birth on Nov. 22, 2013.

Baritone Liam Bonner performs the title role for the first time, joining with tenor Richard Croft as Captain Vere and bass Greer Grimsley, making his company debut, as John Claggart, whose attraction to Billy is the pivot point of the opera. The production, by Francesca Zambello, originated in Geneva in 2004 and at London’s Royal Opera House, Covent Garden in 1995; it was first seen in L.A. in 2000.
Read my preview story HERE.
John Farrell’s story in the above newspapers is HERE
David Ng’s preview story in the Los Angeles Times is HERE.

Information: www.laopera.com

• The Los Angeles Chamber Orchestra presents its annual “Discover” concert at Ambassador Auditorium in Pasadena Saturday night at 8 p.m. The program this year focuses on Beethoven’s Symphony No. 3 (Eroica). In the first half of the program, Music Director Jeffrey Kahane will lead the orchestra in a demonstration and discuss this pivotal work in classical music history. The second half will be a complete performance of the symphony.

Information: www.laco.org

• The Los Angeles Philharmonic begins its “TchaikovskyFest” series on Thursday night at Walt Disney Concert Hall with a performance by the Simón Bolivár Symphony Orchestra String Quartet and members of the Los Angeles Philharmonic. Beginning Friday and continuing every night (and some days) except one through March 2, Gustavo Dudamel will lead his two orchestras, the Phil and SBSO, in performances of all six of Tchaikovsky’s symphonies plus other assorted works. Mark Swed has an interview with Gustavo in the Los Angeles Times HERE.

Information: www.laphil.com

• Muse/ique continues its “Uncorked” series with a performance on Feb. 24 at “The Noise Within,” the theatre/performing space located just north of the Gold Line’s Sierra Madre Villa station at the eastern edge of Pasadena.

Music Director Rachael Worby will lead 13 members of her ensemble in Aaron Copland’s original score for the ballet Appalachian Spring. However, in true Worby fashion, that’s just part of the evening. The 70-minute program will also feature Mike Simpson (aka EZ Mike of the Dust Brothers) and fits + starts for electronic music with live cello, a piece commissioned by L.A.’s Hysterica Dance Company from composer Anna Clyne. Kitty McNamee and members of Hysterica Dance Co. will supply choreography for the evening.

Information: www.muse-ique.org

* The 2014 summer schedule for Hollywood Bowl and 2014-2015 season schedules for L.A. Opera, the L.A. Phil and Los Angeles Master Chorale have been released. My comments are listed in recent Blog posts (links below). Each post contains a link to the schedule and other information:
Hollywood Bowl 2014 summer season
Los Angeles Opera 2014-2015 season
Los Angeles Philharmonic 2014-2015 season
Los Angeles Master Chorale (below the Hollywood Bowl blurb)

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PREVIEW: “Walking the Plank” at “Billy Budd”

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
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Los Angeles Opera’s production of Benjamin Britten’s Billy Budd
Feb. 22, March 5, 8 and 13 at 7:30 p.m. March 2 and 16 at 2 p.m.
Dorothy Chandler Pavilion, Los Angeles
Tickets: $19-$311. Student and senior rush tickets, subject to availability.
Information: www.laopera.org

BillyBudd_5_4Web
LA Opera will use Francesca Zambello’s striking production when it presents Benjamin Britten’s Billy Budd beginning Saturday night at the Dorothy Chandler Pavilion. Photo from Washington National Opera.
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As the clock ticks toward next Saturday, anticipation is beginning to mount as Los Angeles Opera prepares to present Benjamin Britten’s Billy Budd, the climax of the company’s nearly two-year-long “Britten 100/LA” celebration of the centennial of composer’s birth on November 22, 2013. Staging, lighting, orchestra and cast rehearsals are fusing into what the company hopes will be a seamless whole; dress rehearsals begin Sunday and the Feb. 22 opener will be the first of six presentations of an opera that many people consider Britten’s finest work, although it isn’t as well known as Peter Grimes.

This morning some media members and other guests got a backstage glimpse of the set for the production, which was created by a then-young New York City native named Francesca Zambello. Gary Murphy, LAO’s director of public relations wittily termed the morning “Walking the Plank.” As always, the perspective from the stage is radically different from the seats, although the morning began in the Founders Circle so that we could get front-facing perspective of a set that was still coming together.

This production debuted in Switzerland’s Grand Théâtre de Genève in 1994 and opened the next year at London’s Royal Opera House, Covent Garden. It played in Los Angeles in 2000 and has become, says Rupert Hemmings, LAO’s senior director of production, “THE iconic production of this opera.” Plácido Domingo, LAO’s general director, believes this is the Zambello’s best work. In fact, it is so popular that there are two versions in existence, one based in London (which LAO is using) and the other housed in Paris.

Despite the fact that the opera is set entirely on a British man-of-warship in 1797, the HMS Indomitable, Zambello specified to set and costume designer Alison Chitty that the production couldn’t include a ship and the sailors couldn’t wear military uniforms.

Instead, Chitty created a raked, triangular wooden plank that stretches the width of the Pavilion stage and comes to a point looming over the orchestra pit to symbolize the ship’s deck (rigging and other paraphernalia in the background add verisimilitude to the effect). The front 2/3 of the plank tilts up sharply to reveal the cabin below where much of the second act takes place; from the seats, the effect resembles a geometric “Jaws-like” shark.

Several of us “rode the plank” as it tilted up and down; others climbed warily down the ultra-steep stairs from the deck to the cabin (with my bad foot, I elected not to risk my neck on that trip — the all-male cast that numbers about 25 clearly has to be in great shape to maneuver on this set; no “Falstaffs” here).

What the audience will see is exactly what Zambello created, although Julia Pevzner is credited as the director. “When a company rents a production, as we are doing with this one,” explained Hemmings, “you are contractually obligated to produce what was originally created. Moreover, if the original director isn’t in charge, he or she has to sign off on the director. This production clearly has Zambello’s imprint.”

Zambello — now general and artistic director of the Glimmerglass Festival in England and artistic director of Washington National Opera — has, in fact, been in L.A. for what Hemmings described as a week of “intense” rehearsals. Liam Bonner, who is portraying the title character for the first time, remembers Zambello telling him, “You already look like Billy Budd; you don’t have to jump around a lot. Stand still!”

For L.A. Opera Music Director James Conlon, who is conducting Billy Budd for the first time, this production continues a life-long love affair with Britten. “When I was growing up,” Conlon wrote in an Opera News article, “Benjamin Britten was a contemporary composer.” As a high school student, he heard Britten and his partner, Peter Pears, perform two recitals in New York City.

Nonetheless, for Conlon, the complexity of Billy Budd makes it unique. “A universe within the universe,” writes Conlon in the LA Opera program, “it touches upon Britten’s recurrent themes: outrage for the destruction — not just the loss — of innocence; the abdication by civil authorities of their moral authority to the detriment of the weak; and the importance of compassion and its lamentable absence in the affairs of men.”

Written in 1951 and revised nine years later, the opera uses a libretto by E.M. Forster (who write A Passage to India and A Room With a View, among other works) and Eric Crozier from a novella by Herman Melville. “It is the second of three operas, along with Peter Grimes and Death in Venice, that play out in or around the powerful influence of the sea,” notes Conlon. “It is [also] the biggest of his large-scale works.” The orchestra (the largest Britten used in an opera) has more than 70 musicians, the L.A. Opera Chorus numbers 46 and there are 10 boys from the Los Angeles Children’s Chorus. Altogether, counting stagehands and lighting folks, more than 200 people will be involved in this production (“not counting ushers and ticket takers,” says Hemmings with a wry smile).
Bonner
In the title role, Bonner (right) — a 32-year-old Pittsburgh native — steps into the shoes of Southern California native Rod Gilfry who created the part in the London production and played it here 14 years ago. Although new to this role, Bonner has an extensive background in Britten’s music; he played the role of Sid in LAO’s production of Britten’s Albert Herring in 2012.

“Britten does such a wonderful job of writing for the voice,” says Bonner. “What I’ve learned is that to sing his music well I have to be true to myself. The challenges are mainly that you have to be very strict with the rhythms and keep moving forward. There’s always an energy, a current that seems to keep running through the music; it never seems to stops. And yet, there are moments of stillness — in fact, stillness is an important part of the action.”

Although it’s by coincidence given the lengthy schedule times for operas, the revival of this production and the unveiling of an acclaimed 2010 production from Glyndebourne Festival Opera, directed by Michael Grandage, now playing at the Brooklyn Academy of Music, (LINK) are especially timely because of the mounting of Charles Wuorinen’s operatic version of Brokeback Mountain, which opened recently at Teatro Real Madrid. “Without Britten having introduced the issue of homosexuality in Billy Budd,” says Hemmings, ”Brokeback Mountain as an opera doesn’t get written.”

Britten’s homosexuality certainly played a role in the writing of Billy Budd, although how much is open to debate. “The homoerotic aspects are certainly a driving force in this piece,” said Bonner in an interview with Chris Carpenter in Rage Monthly, “but they have more do with Claggart than with Billy. Billy is too innocent and naïve, I think, to even realize the way Claggart is drawn to him … Billy is so real and so sincere in his answers, always.” This morning, Bonner summarized Billy as “an innocent. He cannot see the bad in anything.”

One of the critical elements to the role is that Billy stutters; in fact, the opera’s tragedy revolves around this impediment. “What makes that particularly difficult,” says Bonner, “is that Britten writes the stuttering into the music and no two times are the same. You really have to stay on your toes.” Especially when walking the plank.

Hemidemisemiquavers:
• The opera runs about three hours with one intermission. It is sung in English with English supertitles (it will be interesting to see how much those are necessary).
• Conlon will deliver a pre-performance lecture an hour before each performance.
• The are several excellent articles in the “Learn More” tab of the LAO Web site.
• The sets nearly didn’t make to L.A. in time. Bad weather in London and then New York pushed things to nearly the breaking point.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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PREVIEW: KUSC to air Disney Hall “War Requiem” concert on Sunday

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

If you weren’t able to attend the performances of Benjamin Britten’s War Requiem Sunday in Orange County or Monday in Walt Disney Concert Hall, KUSC (91.5 FM in Los Angeles and www.kusc.org) will air the L.A. performance on Sunday at 8:30 p.m. Details: www.kusc.org

James Conlon conducted The Colburn Orchestra, members of the USC-Thornton Symphony, three soloists and more than 400 choristers ranging from local universities to the Los Angeles Children’s Chorus in the performances.

Links to my preview story and my review are HERE and HERE.

BTW: A Caltech link has the complete text HERE so you can follow it. Although the diction was exemplary during the Disney Hall performance, being able to read Wilfed Owen’s gripping poetry would definitely be a plus.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: Conlon leads combined forces in stunning performance of “War Requiem”

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

Benjamin Britten: War Requiem
The Colburn Orchestra and members of the USC-Thornton Symphony; James Conlon, conductor

Tamara Wilson, soprano, Joseph Kaiser, tenor, Phillip Addis, baritone
USC Thornton Chamber Singers (Dr. Jo-Michael Scheibe, conductor)
USC Thornton Concert Choir (Dr. Christian Grases, conductor)
Bob Cole Conservatory Chamber Choir from CSU-Long Beach (Dr. Jonathan Talberg, director)
CSU-Fullerton University Singers (Dr. Robert Istad, conductor)
Chapman University Singers (Dr. Stephen Coker, director)
Los Angeles Children’s Chorus (Anne Tomlinson, artistic director)
New Zealand Youth Choir (David Squire, music director)
November 25, 2013 at Walt Disney Concert Hall, Los Angeles.
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Benjamin Britten’s War Requiem is one of the monuments of choral literature. It stands with the Requiems of Mozart, Brahms and Verdi and alongside other choral masterpieces such as Handel’s Messiah.

But there’s a catch. Britten’s magnum opus is so rarely performed that its emotional impact seems outsized when compared with the others on this list. Familiarity doesn’t breed contempt but it certainly lessens the effect of these better-known pieces.

At last night’s preconcert lecture immediately preceding a stunning performance of War Requiem at Walt Disney Concert Hall, when Conductor James Conlon asked how many people would be hearing the piece for the first time, nearly every hand was raised. Imagine how staggered you would feel if you were hearing, for example, Verdi’s Requiem or Handel’s Messiah for the first time.

Thus it’s truly amazing that this rare performance of War Requiem, was sung and played not by the Los Angeles Philharmonic or one of our other professional ensembles but by about 400 instrumentalists and choristers, all college age or younger, along with three soloists. What could have been a train wreck was instead a vibrant, cohesive unified front, all under the steady hands and baton of Conlon, who somehow managed to sandwich this concert and last Sunday’s performance in Costa Mesa between conducting Verdi’s Falstaff and Mozart’s The Magic Flute for Los Angeles Opera.

The two local War Requiem concerts took place just days after the 100th anniversary of Britten’s birth; the 50th anniversary of President John K. Kennedy’s assassination added to the emotional nature of the evening.

How Britten, a pacifist, came to write War Requiem is reasonably well known (you can read some of the details in my preview story HERE). The basics are that he was commissioned to write a piece of his choosing for the dedication of the new St. Michael’s Cathedral in Coventry, England. The premiere took place on May 30, 1962.

Part of Britten’s genius in writing War Requiem was that he melded the traditional Roman Catholic Requiem Mass text with gritty poetry written by Wilfred Owen during World War I. (Ironically, Owen died on Nov. 4, 1918, exactly one week — almost to the hour — before the signing of the Armistice that ended the war; he was awarded a posthumous Military Cross). As a preface to War Requiem, Britten quoted Owen: “My subject is War, and the pity of War. The poetry is in the pity. All a poet can do is warn.” That’s just a sample of the emotional impact of the poems.

Another aspect of the work’s greatness is how Britten deployed his forces. The adult choral forces (182 voices, if everyone listed in the printed program actually sang) join with the soprano soloist to sing the traditional Requiem text, accompanied by a full-sized orchestra. A children’s chorus, accompanied by an organist, adds a potent angelic element at key points, sung last night from the top rear balcony. Tenor and baritone soloists, simulating a German and English soldier, sing Owen’s poetry, accompanied by an ensemble of 13 instruments.

In some performances, the male soloists and chamber orchestra are separated from the main body and led by a second conductor (indeed, that’s how the premiere performance was played; Britten conducted the smaller contingent while Meredith Davies led the City of Birmingham Symphony Orchestra).

However, Conlon chose to conduct the entire performance by himself, placing the chamber ensemble directly in front of him with the larger orchestra behind them. The male soloists — tenor Joseph Kaiser and baritone Phillip Addis — flanked the conductor’s podium, while soprano Tamara Wilson sat in the middle of the front row of choristers on the choral benches. Conlon led some portions using a baton; for many of the choral sections, he laid down the stick and conducted with expressive hands.

The choral forces delivered a beautiful tone and were amazingly precise throughout the 84 minutes, but particularly in the extended fugal writing in the “Dies Irae” sections . The combined children’s choruses floated gorgeous sound with precise diction from their “heavenly” location in Disney Hall.

Soprano Tamara Wilson, symbolizing a Russian soldier, poured out rich opulent sounds that carried even over the combined choral and orchestral forces. Her melding with the chorus in the “Lacrimosa” was a highlight of the evening.

Tenor Joseph Kaiser, singing music written for Britten’s life partner, Peter Pears, delivered that bright tone so favored by English composers and Kaiser’s diction so precise that the projected supertitles were not needed. Baritone Phillip Addis’s voice turned gravely in the lower registers but he was emotionally strong in delivering some of Owen’s most poignant lines.

The Colburn Orchestra and members of the USC-Thornton Symphony played splendidly, especially given the fact that, according to one story, only Concertmaster Jeffrey Myers had ever played the work before. The 13-member ensemble (the same number that Britten used to accompany his three chamber operas) passed Britten’s melodies from hand to hand, as it were, while offering sympathetic accompaniment to Kaiser and Addis.

All forces eventually join in the final movement, “Libera Me,” in which Kaiser and Addis sang Owen’s “Strange Meeting,” a commentary on companionship between enemies after one has killed the other, interspersed with the final words of the Mass. Two bells — C and F-sharp — continue to toll as they have throughout the piece and the chorus finally dies away in a mysterious vapor. The capacity audience sat spellbound, silent for 20 seconds, before erupting in wave after wave of standing ovations for the performers — and, one thinks, also for the piece. Conlon appeared to be spent emotionally; for most of the audience, the feeling was the same.

Hemidemisemiquavers:
• Conlon’s typically erudite preconcert lecture was particularly helpful in showing the influences of Verdi, Berlioz and Mozart on Britten’s writing.
• The organist last night was Christoph Bull, head of the organ department at UCLA, a nice — if somewhat ironic — touch to counterbalance the presence of the USC-Thornton Symphony and two USC choirs.
• In honor of the Britten centennial, Decca has released a newly remastered version of the original recording of War Requiem, featuring the three singers who Britten intended to sing the premiere: Galina Vishnevskaya (Russian soprano), Peter Pears (English tenor), Dietrich Fischer-Dieskau (German baritone). Because of international tensions, Vishnevskaya didn’t sing at the premiere (English soprano Heather Harper stepped in) but Vishnevskaya did perform in the original recording. The new version include a CD of War Requiem, , a Blu-Ray Audio format, which allows the recording to be heard at 24-bit, and a CD featuring Britten in rehearsal at the sessions in January 1963, which was produced by the legendary John Culshaw.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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PREVIEW: Britten’s centennial to be remembered with two performances of “War Requiem”

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this article was published today in the above papers.

Benjamin Britten: War Requiem
The Colburn Orchestra and members of the USC-Thornton Symphony; James Conlon, conductor

Tamara Wilson, soprano, Joseph Kaiser, tenor, Phillip Addis, baritone
USC Thornton Chamber Singers (Dr. Jo-Michael Scheibe, conductor)
USC Thornton Concert Choir (Dr. Christian Grases, conductor)
Bob Cole Conservatory Chamber Choir from CSU-Long Beach (Dr. Jonathan Talberg, director)
CSU-Fullerton University Singers (Dr. Robert Istad, conductor)
Chapman University Singers (Dr. Stephen Coker, director)
Los Angeles Children’s Chorus (Anne Tomlinson, artistic director)

Today at 8:15 p.m. • Renée and Henry Segerstrom Concert Hall, Costa Mesa. Preconcert lecture at 7 p.m. by Dr. William Hall.
Information: www.philharmonicsociety.org

Tomorrow at 8 p.m. • Walt Disney Concert Hall, Los Angeles. Preconcert lecture at 7 p.m. by James Conlon.
Information: www.laphil.com
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Brittenr4WebWe’re in the penultimate two months of a year honoring birthdays of three of history’s most important composers: the bicentennials of Giuseppe Verdi and Richard Wagner and the centennial of Benjamin Britten (right), which occurred on Friday (Nov. 22). The Britten centennial reaches its climax locally today and tomorrow with a massive collaboration on Britten’s most significant work: War Requiem.

These performances are among hundreds that have been part of Britten 100/LA, which has been spearheaded by LA Opera but which has involved hundreds of different organizations, large and small, throughout the Southland.

Los Angeles Opera Music Director James Conlon takes a break from conducting the company’s new production of Verdi’s Falstaff and Mozart’s The Magic Flute to lead The Colburn Orchestra and members of the USC-Thornton Symphony (the work calls for a large main orchestra and a smaller-sized ensemble), organ, three soloists, five university choirs and the Pasadena-based Los Angeles Children’s Chorus in War Requiem tonight at 8:15 at Renée and Henry Segerstrom Concert Hall in Costa Mesa and tomorrow at 8 p.m. at Walt Disney Concert Hall in Los Angeles.
“Break” may be a misnomer; Conlon leads a Falstaff performance beginning at 2 p.m. on Sunday at the Dorothy Chandler Pavilion, so he may be changing clothes as he drives/flies down the freeway.

Coventry_Ruins
War Requiem premiered on May 30, 1962 in the new Coventry Cathedral in the center of England. The city’s 14th century Gothic cathedral, St. Michael’s, had been destroyed by a Nazi air raid on Nov. 14, 1940. Only the tower, spire, outer wall and the bronze effigy and tomb of its first bishop, Huyshe Wolcott Yeatman-Biggs, survived.

Following a competition that received entries from more than 200 architects, Basil Spence was selected to design a new cathedral. He insisted that the ruins of the old cathedral be kept as a stark memorial and his dramatic new cathedral was built alongside; a glass canopy connects the two buildings. For his stunning conception, Spence was knighted by Queen Elizabeth II in 1960.

Britten, a renowned pacifist, was 48 when the piece was first performed and was given free rein to compose the dedicatory work. He chose to interleave portions of the Roman Catholic Requiem Mass with gritty poems written by Wilfred Owen during World War I. Britten used one of Owen’s poems as a preface to the work: “My subject is War, and the pity of War. The poetry is in the pity. All a poet can do is warn.” Owen died on Nov. 4, 1918, exactly one week (almost to the hour) before the signing of the Armistice that ended the war.

The piece lasts about 85 minutes (there is no intermission), and is considered by most to be a landmark 20th century composition. A unique part of the composition is that Britten wrote for soloists (soprano, baritone and tenor) who were meant to characterize individual Russian, German and English soldiers.

According to the Britten-Pears Foundation, “Britten intended that the soloists at the first performance should represent three of the nations involved in World War II: Galina Vishnevskaya (Russian soprano), Peter Pears (English tenor), Dietrich Fischer-Dieskau (German baritone). In the event, precisely because of this tri-national partnership of representatives, Vishnevskaya was refused permission to attend by the Russian Minister of Culture. Although she was later able to record the work, she did not sing it until 1963; her place at the première on 30 May 1962 was taken by Heather Harper.”

The Disney Hall performance is part of the Los Angeles Philharmonic’s “Sounds About Town” series, which this season has dwindled to just two concerts, both by The Colburn Orchestra. One feature of this series has always been its low prices: tickets for “War Requiem” range from just $15.99 to $41.50. By contrast, the Segerstrom Concert Hall tickets are scaled from $20 to $150.

Conlon will give a preconcert lecture an hour before the Disney Hall performance. At Segerstrom Hall, Dr. William Hall, who led one of the first Southern California performances of War Requiem, will deliver the lecture at 7 p.m. In part because of the work itself and in part because it is so rarely performed, this is a “don’t miss” event.

Hemidemisemiquavers:
• How rare are these concerts? According to the Britten-Pears Foundation, these concerts and a set by the San Francisco Symphony next weekend are the only North American performances of War Requiem for the balance of this year (performances have been held recently in Baltimore, Washington, D.C., Boston and Chicago — see below). The SFO schedule is somewhat odd: Nov. 27 and 30 with nothing between.
• It’s possible that this will be the only time that most of the instrumentalists and choristers will play and/or sing War Requiem in their lifetimes.
• The program notes for tonight’s Segerstrom Hall concert are HERE (they come courtesy of the Cincinnati Symphony). Click on the note to make the type larger and click on the arrows to navigate the pages. These notes (actually pages from the program book) also include the text and performer bios.
• The program notes for the Disney Hall performance are HERE. These also include an iTunes link to the original cast recording with Britten conducting HERE.
• The writeup on War Requiem from the Britten-Pears Foundation is HERE.
• A fascinating interview in The Guardian with composer Oliver Knussen’s reflections on Britten is HERE.
• Anne Midgette, music critic of the Washington Post, and her husband and fellow critic, Greg Sandow (who is also a composer, consultant and educator) have written a series of articles on recent performances of War Requiem in Washington, D.C. and Baltimore, including somewhat contrasting reviews of the same performances. If you’re interested, click HERE for an overview and follow the various threads to the relevant stories. However, you might want to wait until you’ve seen either of the local concerts.
• When Charles Dutoit led the Chicago Symphony in War Requiem last week, he honored Britten by using Russian soprano Tatiana Pavlovskaya, English tenor John Mark Ainsley and German baritone Matthias Goerne as the soloists. Nice touch.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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